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My research Paper

I loved the Symposium 2 day – though it was hectic it was suddenly very obvious too me how different our course is to most other creative courses. Because the only thing that binds us is ‘digital’ we have ended up making more than 20 very different projects – I am very exited for the exhibition and seeing everything in one room!

I was quite happy that I managed to use so many of my findings from my research paper in the symposium video and I was overwhelmed by how positive the comments were. So, all in all  I think the symposium went very well – though being last is might also have had some influence ;)

Kiers, Jonathan and Harry recommended the Richard Dawkins Meme video - ironically enough I was in Cannes when it was shown at he New Directors Showcase but I had to attend a meeting and missed it live … I now wish I hadn’t… Here’s the link (if anyone is reading and doesn’t know it). Sadly, it might not be viral material but it is rather educational – and psychedelic.

Then I had some nice rations the pictures of lolcats I threw in the video to illustrate a point – which made me want to finish my personal project for the show but I’m afraid it’s to much work within the time I have left…

Luckily people also like the #ISEEFACESs#ISEELEGS project. This is important because I guess it will be a main piece of a sort.

The idea of getting people involved was also appreciated. Edward Kelly rightly pointed out that my main focus now should be on how I can engage people at the show – I will create a post in near future dedicated to this question!

Lionel thought I should exhibit some of the  #ISEEFACESs#ISEELEGS  work in selected prints. I think Jonathan has suggested this before and I’ve wanted to but I was afraid since I don’t own the work. We discussed that I might put the original participants name on the m instead an I really like that idea!

Lionel also had a good comment to the fact that I might end up editing the work on my website. He thought it wouldn’t be democratic and really I agree – but sadly it still might be necessary. Anyway, I think I will program it so I have the option and then  I might not use it in the end.

Thank you all on the course for your time and comments – AND thank you for showing your amazing projects!

 

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Some of the relevant litterature I’ve found on the Internet.

 

____ FLUXUS

Fluxus Portal: http://www.fluxus.org/

Fluxlist archive: http://www.mail-archive.com/fluxlist@scribble.com/

Copenhagen Fluxus Archive: http://www.fluxus-archive.dk/

Artlex.com: http://www.artlex.com/ArtLex/f/fluxus.html

Artpool: http://www.artpool.hu/Defaulte.html

Artnotart: http://www.artnotart.com/fluxus/gmaciunas–.html

Fluxus a la carte (article): http://www.flashartonline.com/interno.php?pagina=whispers_det&id_art=314&det=ok&title=FLUXUS-A-LA-CARTE

Zen and Fluxus (from the Fluxus Reader): http://www.thing.net/~grist/ld/koppany/doris-e.htm

Alison Knowles: http://www.aknowles.com/eventscore.html

Art Historian Peter van der Maijden’s blog: http://petersfluxdeparole.blogspot.dk/

 

____ MAIL_ART

DigitalMailart blog: http://digitalmailart.blogspot.dk/

Effects of the Internet on the Correspondence Art Network: http://www.mailartist.com/honoria/research2003/abstract.htm

Ray Johson Estate (Articles): http://www.rayjohnsonestate.com/research/articles

MailArt.de: http://www.mail-art.de/

Maik Art Projects blog: http://mailartprojects.blogspot.dk/ 

IUMOMA International Union of Mail-Artists

http://www.iuoma.org/

Ruud Janssen mail art interviews: http://www.iuoma.org/interview.html

m@ilart by Matt Ferranto: http://www.spareroom.org/mailart/mis_1.html

Franklin Furnace Mail Art exhibition (FFFlue): http://www.franklinfurnace.org/research/projects/flow/mailart/mailartf.html

Illegal Mail Art (FFFlue): http://www.franklinfurnace.org/research/projects/flow/mailart/Oistetxt.html

On Mail Art: Doo-Da Postage Works (FFFlue)http://www.franklinfurnace.org/research/projects/flow/mailart/Higgtxt.html

The N-titty (FFFlue): http://www.franklinfurnace.org/research/projects/flow/mailart/Pittotxt.html

Mail Art (FFFlue): http://www.franklinfurnace.org/research/projects/flow/BeaDav/beadav.html

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I will probably end up focussing more on the way Fluxus artists gave the audience firsthand experience in the Fluxus art, but I am also fascinated with the role George Maciunas in the creation of the Flux fests, the Fluxus boxes, the Flux house and the Fluxus magazine. He was indeed the curator that I keep babbling about. Fluxus was not him alone and he didn’t own all the different art works and events the contributing created, but he created a platform and a context that joined art together and gave it context.

From the movie: Zefiro Torna Or Scenes From the Life Of George Maciunas

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In his Fluxus Manifesto of 1963 George Maciunas call on the Fluxus artist to:

“PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART. Promote living art, anti-art, promote NON ART REALITY to be grasped by all peoples, not critics, dilettantes and professionals.”

The thoughts of Fluxus became a platform for a broad group of artist working in many different medias, together and alone.

The Fluxus art was intermediate, and often interactive. Fluxus Scores and Flux boxes were guidelines for an audience to participate in the creation of the art – as Fluxus artist Ben Patterson puts it in the movie the Misfits. “The true way to experience art is to create it”. This changed the role of the artist to a conceptualiser or even a curator.

The movement was driven by a deep fascination of chance and life itself, and dissociation from the established art world.

In the Fluxus documentary the Misfits another Fluxus artist says that “everything art touches, dies”.

This rejection of the label “art” and open-minded view on amateurs as creators is interesting in a more contemporary context. New digital platforms such as social media networks are now being used as a basis for crowd-sourced art. Art created through such platforms are generally open for contributions from professional and amateurs alike, and the artist them selves often end up curating and editing contributions rather than creating themselves. A single art discipline within the Fluxus movement is Mail art, has a very strong connection to todays networked art.

But in the social networks there are other, even less acknowledged forms of artistic expression. The Memes – a global social trend of creation that operates on a level where most people can contribute. Though they are often regarded as an inferior creative discipline.

Memes like Rage Guy Comics and Lol Cats have their own (though rather crude) aesthetics and their own game rules. They are made from very specific components like the ones you would find in e.g. a Flux box.

In this essay I will attempt to draw parallels from the aesthetics and ideas, and social values of the Fluxus movement to some of the Social Network art of today. Maybe – if we take a look through the eyes of the Fluxus movement – Memes could be seen as a discipline of art.


Fluxkit (2), Georges Maciunas, 1966

 


“Three Lamp Events”, George Brecht, 1961.

 


From the “Dear Photograph” website.

 


Rage Guy Faces “kit” from alltheragefaces.com


Example of a “Rage Guy Comic” from weknowmemes.com

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